|
|
|
|
|
|
| |
| |
|
|
|
|
| |
| |
|
|
"Stephen" <mcavoys_AT_aolDOT.com> schreef in bericht
news:web.46af4fe116060248c4e49fa40@news.povray.org...
> "Thomas de Groot" <t.d### [at] internlDOTnet> wrote:
>
>> Hmm... No Cathy in this scene I'm afraid. However, in another one I am
>> planning, she might indeed appear as one of her avatars. Excellent idea
>> Stephen!
>>
>> Thomas
>
> I thought that it might be a trademark. "Find Cathy in Thomas's image" :-)
>
Indeed! Your earlier suggestion has given me an idea, and Cathy is going to
appear in this scene. Just wait and see...
Thomas
Post a reply to this message
|
|
| |
| |
|
|
|
|
| |
| |
|
|
Thomas de Groot wrote:
>
Excellent.
Realist full-scenes often impress on a computer screen, but there are
few I can imagine printed on a wall. Realist full-scenes seem so dry in
comparison to abstract, impressionist, or still-life works. This one
will be an exception if you can get an attractive render.
-Shay
Post a reply to this message
|
|
| |
| |
|
|
From: Thomas de Groot
Subject: Re: Eavesdropping - new WIP (~130kB)
Date: 11 Aug 2007 03:06:09
Message: <46bd5fe1@news.povray.org>
|
|
|
| |
| |
|
|
"Shay" <shay@s.s> schreef in bericht news:46bcab00$1@news.povray.org...
> Thomas de Groot wrote:
>>
>
> Excellent.
Thank you, Shay !
>
> Realist full-scenes often impress on a computer screen, but there are
> few I can imagine printed on a wall. Realist full-scenes seem so dry in
> comparison to abstract, impressionist, or still-life works. This one
> will be an exception if you can get an attractive render.
>
I fully agree. A distinction should be made indeed and these kind of
images/scenes, in my view, are not intended to be hanging on a wall. At
best, they illustrate a story - which is tricky in itself - or they serve as
a basis for a story. They have no function whatsoever on a wall because they
would be rapidly boring and disappointing. I am, at heart, a storyteller and
not a painter. As such, these scenes are the materializations of visions
from my mind's eye.
Thomas
Post a reply to this message
|
|
| |
| |
|
|
|
|
| |
| |
|
|
"Thomas de Groot" <t.d### [at] internlDOTnet> wrote:
> I have returned to last year's 'Eavesdropping', with the new figures I have
> been working on for the last couple of months. This is a fast,
> non-radiosity, render.
>
> The title could now be: "Iskander learns something to his advantage".
>
> Besides Iskander, the other figures are the Rais Abdul ibn Abdullah (of
> course), and a newcomer: captain Adamastor. The place is the city of
> Gancaloon, gate to the world of dreams.
>
> Thomas
Oh, that's a very nice image! Congratulations!
I don't know if there's something wrong with my screen, but the shadow of
the column falling in the middle of the screen has strange fuzzy edges as
if it were painted with an irregural brush in a 2d program (which I don't
doubt for a second that it isn't ;-) ).
The ropes are great, and I can't imagine a pier without them, but the ropes
seemingly dangling from the columns strike me as peculiar.
Post a reply to this message
|
|
| |
| |
|
|
|
|
| |
| |
|
|
Thomas de Groot wrote:
> I fully agree. A distinction should be made indeed and these kind of
> images/scenes, in my view, are not intended to be hanging on a wall.
I hope you didn't miss my point that I believe this scene to be an
exception to that rule - perhaps because it's not as full a scene as it
appears to be. The focus of the image is narrow and obvious. The simple
surroundings frame rather than distract from the subject. Realist
stylizations don't allow for much editorialization, but I think you've
used what tools are available within that stylization very effectively.
-Shay
Post a reply to this message
|
|
| |
| |
|
|
|
|
| |
| |
|
|
Hey Thomas, it has come about that I am trying to model fluted columns.
Forgive me if you have talked about it before, but I am wondering how
you are modeling your columns?
Post a reply to this message
|
|
| |
| |
|
|
|
|
| |
| |
|
|
"Shay" <shay@s.s> schreef in bericht news:46bda93a$1@news.povray.org...
> Thomas de Groot wrote:
>> I fully agree. A distinction should be made indeed and these kind of
>> images/scenes, in my view, are not intended to be hanging on a wall.
>
> I hope you didn't miss my point that I believe this scene to be an
> exception to that rule - perhaps because it's not as full a scene as it
> appears to be. The focus of the image is narrow and obvious. The simple
> surroundings frame rather than distract from the subject. Realist
> stylizations don't allow for much editorialization, but I think you've
> used what tools are available within that stylization very effectively.
>
No, no! I got your point, Shay, and thanks indeed for it. It is what I want
to achieve, beyond the strictly anecdotal. Still, I have to say that it is a
difficult balancing act. In a sense, I want the beholder to become an
accomplice in the scene he/she is watching, turning him/her into a peeping
tom as it were.
I want to add one more element to this scene and I am aware that it may
destroy the effect, making it too explicit. If that is so, I shall leave it
out.
Thomas
Post a reply to this message
|
|
| |
| |
|
|
|
|
| |
| |
|
|
"Grassblade" <nomail@nomail> schreef in bericht
news:web.46bd944716060248364ceeb90@news.povray.org...
> Oh, that's a very nice image! Congratulations!
Thank you!
> I don't know if there's something wrong with my screen, but the shadow of
> the column falling in the middle of the screen has strange fuzzy edges as
> if it were painted with an irregural brush in a 2d program (which I don't
> doubt for a second that it isn't ;-) ).
What you see is the area_light effect. I may squeeze it a bit more indeed...
> The ropes are great, and I can't imagine a pier without them, but the
> ropes
> seemingly dangling from the columns strike me as peculiar.
Well, I can only say that this is a peculiar place. ;-)
As far as I know, it is an ancient temple turned into a storehouse because
of its convenient location alongside the harbour. So, all kinds of pullies
and ropes have been attached to the ceiling etc...
Thomas
Post a reply to this message
|
|
| |
| |
|
|
From: Thomas de Groot
Subject: Re: Eavesdropping - new WIP (~130kB)
Date: 12 Aug 2007 04:04:07
Message: <46bebef7@news.povray.org>
|
|
|
| |
| |
|
|
"Jim Charter" <jrc### [at] msncom> schreef in bericht
news:46bdd4f2$1@news.povray.org...
>
> Hey Thomas, it has come about that I am trying to model fluted columns.
> Forgive me if you have talked about it before, but I am wondering how
> you are modeling your columns?
It has been a couple of years since I modelled these, so let me ponder...
(The first version I made in Wings3D, before switching everything over to
Silo)
I followed the Greek guideline that says that a column, to be appealing to
the eye, should not be a simple cone shape but bulge a tiny bit out at the
middle. I acchieved this by using a vertically very elongated sphere, cut at
the middle (i.e. the base of the column) and at the place where the top
should be. You have to experiment with the vertical elongation until you
have both bottom and top diameters correctly. An easy way to do this is to
first make a proxy model in Moray to get the measurements needed.
Once the shaft of the column is thus obtained, I used (again) vertically
very elongated toruses so that the curvature matched the curvature of the
shaft. Again, a proxy in Moray can help but is not strictly necessary. The
toruses have to be cut to the correct length of the flutes, provided with a
top end (a sphere) and a bottom end (an inclined section). Then, by boolean
substraction from the shaft, the flutes are successively modelled into the
column shaft.
If you want to follow the classical rules, number and form of the flutes are
fixed, but that is another discussion entirely.
Once you have the shaft modelled to your satisfaction, you can model
separately the different elements that form the base of the column, and the
top. The top part is particularly challenging because of the distinctive
capitals. I have not attempted the Corynthian order!! The Ionian order is
already difficult enough. I used a background image as a proxy for modelling
that particular spiral shape.
I won't speak now about corner columns!!! They have their own challenges in
the way to model the capitals.
The result is shown in this low resolution image when I finished building
the complete temple.
Any doubts or questions? Just ask :-)
Thomas
Post a reply to this message
Attachments:
Download 'ApolloTemple_11.jpg' (152 KB)
Preview of image 'ApolloTemple_11.jpg'
|
|
| |
| |
|
|
|
|
| |
| |
|
|
Thomas de Groot wrote:
>
> I followed the Greek guideline that says that a column, to be appealing to
> the eye, should not be a simple cone shape but bulge a tiny bit out at the
> middle. I acchieved this by using a vertically very elongated sphere, cut at
> the middle (i.e. the base of the column) and at the place where the top
> should be. You have to experiment with the vertical elongation until you
> have both bottom and top diameters correctly. An easy way to do this is to
> first make a proxy model in Moray to get the measurements needed.
Yes, my approach too. I saw somewhere on the web that Roman columns
have more of a middle bulge but Greek have a curved taper but the base
is the thickest. No idea if they knew what they were talking about.
http://www.uen.org/Centennial/08BuildingsA.html
>
> Once the shaft of the column is thus obtained, I used (again) vertically
> very elongated toruses so that the curvature matched the curvature of the
> shaft. Again, a proxy in Moray can help but is not strictly necessary. The
> toruses have to be cut to the correct length of the flutes, provided with a
> top end (a sphere) and a bottom end (an inclined section). Then, by boolean
> substraction from the shaft, the flutes are successively modelled into the
> column shaft.
Interestting. So even though you are using mesh you used boolean
subtraction of torii? Again I have been trying exactly the same
approach but with POV CSG. The problem I had was getting the
circumference of the torus to decrease at an rate appropriate to the
diminishing circumference of the tapering shaft.
The other problem was how to position the spheres to difference out at
the top of the flutes. The solution I thought for the second issue was
to begin with a sphere of radius square root two. Then if I made the
cap of the column at height one unit before scaling, the radius there
would always be one unit no matter how I scaled it vertically, and using
the supposed Greek model, the bottom radius would remain root two. So
differencing spheres at both the top and bottoms of the column would be
a known quantity. (Actually with a little more calculation a narrower
base could also be scaled down in the negative direction and have the
radius remain known)
But what screwed this method up was the fact that the vertically scaled
torii do not have a diminishing footprint on the diminishing
circumference of the shaft. By overscaling by 5/4 vertically, (ie if I
wanted the top of the shaft to be at 20 units, I would scale the sphere
and torii by 25 times vertically), I managed to get the relationship
between the torii and the shaft circumference to look okay to the eye,
at least, though the flutes are still narrower at the base than at the
top. But as soon as I did that I lost my ability to exactly position
the spheres at the top. If there is a mathematical relationship
describing what the radius would be at the 4/5 point I couldn't find it.
I finally managed an 'eyeballed' solution for positioning the spheres
but this feels as unsatisfying in so far as I doubt it would hold up for
different ratios of height to radius.
The obvious advantage of mesh it is that the polys match the contour of
the surface so that a vertical line of polys could be used to shape a
flute which would diminish in size appropriately. So now I an curious as
to why you used the boolean approach.
>
> If you want to follow the classical rules, number and form of the flutes are
> fixed, but that is another discussion entirely.
I would be intereseted if you have any references. Right now I am using
18 flutes, so a 20 degree rotation.
>
> Once you have the shaft modelled to your satisfaction, you can model
> separately the different elements that form the base of the column, and the
> top. The top part is particularly challenging because of the distinctive
> capitals. I have not attempted the Corynthian order!! The Ionian order is
> already difficult enough. I used a background image as a proxy for modelling
> that particular spiral shape.
Yeah, I'll give that a wait. Actually for my purposes I can diverge
from the strictly classical and indulge myself with my own caprices as
well as any 19th century neoclassical architect
>
> I won't speak now about corner columns!!! They have their own challenges in
> the way to model the capitals.
Hasn't come since it is a circular collonade but will remember that when
tempted to do the other.
>
> The result is shown in this low resolution image when I finished building
> the complete temple.
Very nice. I am also impresses with the texture in 'Eavesdropping',
which, if you are using mesh, must be a perturbed normal?
-Jim
Post a reply to this message
|
|
| |
| |
|
|
|
|
| |
|
|